Vincent Como & Mark Dagley in Triangles, Ventana244, Brooklyn, NY

The art exhibition “Triangles” features seventeen contemporary artists and their different approaches on the subject of the triangular shape and is curated by Brooklyn based abstract artist and curator Melissa Staiger. The exhibition continues the conversation of this geometric symbol where artists such as Sonia Delaunay, Wassily Kandinsky and Blinky Palermo have left off.

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Vincent Como in Painting Black, Sylvia Wald and Po Kim Art Gallery, New York, NY

This exhibition of paintings featuring the color black -- all of relatively small size to enhance visual coherence -- was curated by the German artist Ivo Ringe and the American artist, Joe Barnes. The exhibition concept was developed by Ivo Ringe, Joe Barnes and Po Kim, the Korean-American artist and co-founder of the Sylvia Wald and Po Kim Art Gallery.

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Hartmut Böhm in Related Lines, Dr. Julius | AP, Berlin, Germany

dr. julius | ap is pleased to announce that the two-person exhibition RELATED LINES featuring Hartmut Böhm and Matthew Deleget. The two artists create a dynamic tension by belonging to different generations, as well as to European and American traditions of minimal concrete art and related cultural references.

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Carrie Pollack in Aggregate Exposure, George Lawson Gallery, San Francisco, CA

George Lawson Gallery is pleased to present Aggregate Exposure, curated by Jennah Ward, and featuring a group of twelve artists from Los Angeles, Mexico City, New York City, and San Francisco who work with photography using a hybrid approach. The exhibition's emphasis is placed on looking at the processes through which the work is made, rather than what is represented in the photographic image.

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Mark Dagley & John Nixon in Elementary Painting, Kunstmuseum St. Gallen, St. Gallen, Switzerland

An orange surface on a baking sheet with a simple white frame, or an orange accent on a small-scale canvas...? What is the deciding factor that differentiates painting and crafts as art forms? How do today's artists deal with the starting point of painting since this problem appeared to have been long resolved but is challenged once again by each generation? These are the kind of questions to which the Elementary Painting exhibition at the Kunstmuseum St. Gallen devotes itself: It confronts the classic colour field paintings with situations which initially determine the paintings by their borders.

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Hartmut Böhm in The Art of Zero, Neuberger Museum of Art, Purchase, NY

In the late 1950s Düsseldorf-based artists Heinz Mack and Otto Piene debuted their vision of a new aesthetic that attempted to re-harmonize the relationship between humankind and nature in the wake of the devastation of World War II. In a deliberate move away from Expressionism, they proposed starting with a clean slate to create a “new art for a new age.”

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Robert Swain in LA Weekly, July, 2014

The abundance of colors surrounding the gallery in Robert Swain’s latest exhibit, “The Form of Color,” is a little overwhelming. Only after walking around the gallery for a few minutes – with eyes searching the walls of mingling colors – will viewers find color collisions that appeal to them. And then it all makes sense. Lines begin to fade away until only meshing shades of color dance across the gallery. Individual squares of one solid color even appear to have their own changing color gradient within them. There are no objects or subject to focus on like in an average painting, just color.

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Robert Swain solo exhibition The Form of Color, Santa Monica Museum of Art, CA

Robert Swain: The Form of Color is an immersive, site-specific exhibition grounded by the artist’s forty-five years of research into the phenomenology of color. The Form of Color is Swain’s first solo museum exhibition in California, and is comprised of interlocking, modular paintings created specifically for the Museum and the quality of light in Santa Monica. Each composition is made up of individual twelve by twelve inch squares of color, and measures up to seventy feet in length. The result is an all-encompassing visual and physical encounter-a journey into the sublime.

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MINUS SPACE curates Out of Line, A Pop-Up Exhibition Drawn from the Colección Patricia Phelps de Cisneros, 525 W. 20th Street, New York, NY

The Colección Patricia Phelps de Cisneros (CPPC) is proud to partner with MINUS SPACE for this brief presentation of a selection of abstract art from Latin America. The CPPC is a 'museum without walls', a collection dedicated to generating thought and knowledge about the material culture and heritage of Latin America. As such, the collection travels extensively around the world, and also sponsors an active publication and research program.

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Cris Gianakos in Primary Sources: Documenting SVA and the New York Art World 1966-1985, SVA Chelsea Gallery, New York, NY

School of Visual Arts presents “Primary Sources: Documenting SVA and the New York Art World, 1966 – 1985,” a survey of the myriad new ways of making and experiencing art that found a home at the College over two decades. The exhibition brings together publications, posters and press materials, artist correspondence, installation plans and photographs, and other rarely seen documents.

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Julian Dashper in Reinventing the Wheel: the Readymade Century, Monash University Museum of Art, Melbourne, Australia

Arguably the most influential development in art of the twentieth century, the use of the readymade was set in motion 100 years ago with Marcel Duchamp’s Bicycle Wheel. Giving birth to an entire artistic language, Duchamp’s conversion of an unadorned, everyday object into a figure of high art completely inverted how people considered artistic practice.

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Lynne Harlow in Locally Made, RISD Museum, Providence, RI

Features MINUS SPACE artist Lynne Harlow (new acquisition). The RISD Museum’s first large survey of work from the greater-Providence region in more than 20 years, Locally Made expands across several Museum galleries with multiple components celebrating the rich and diverse talent in the city and nearby communities.

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Russell Maltz in The Gravity of Sculpture: Part II, Curated by Saul Ostrow, Dorsky Gallery, Long Island City, NY

By the late 1970s, the term "sculpture" had come to include all manner of events (actions and performances), materials (plastics, resins, rubbers, etc.), media (photography, film, video and electronics) and modes of presentation (site-specific installations, street works, documentation, etc.). "Sculpture" as a term had been transformed into the catchall and as a discipline it no longer had an identity of its own.

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Ted Stamm: Paintings, Marianne Boesky Gallery, New York, NY

Marianne Boesky Gallery is pleased to present Ted Stamm: Paintings, a survey of works from 1973 to 1981 by the late New York City-based painter. This is the second exhibition of the artist’s work at the gallery. Prior to Stamm’s unexpected death in 1984 at the age of 40, the artist created a substantial mature body of work that was at once responsive to the past, reflective of his time, and telling of the future. Stamm’s practice was dedicated to complicating a Minimalist vocabulary with elongations suggestive of speed and the appearances of movement.

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Alan Uglow, David Zwirner Gallery, New York, NY

The present exhibition includes Standard paintings from the mid-1990s and Portrait(s) of a Standard from 2000, the latter, large-format silkscreens depicting the Standard(s) at an angle. Both the paintings and prints are installed on wooden blocks.

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Mariah Dekkenga: Soft Geometries, Eli Ping Gallery, New York, NY

Dekkenga works out the compositions of her paintings in Adobe Illustrator. After applying an impasto underpainting, she uses herself as printer to transfer the composition to the painting surface. The procedure produces a thing that levels action and stops movement, making it impossible to retrace a series of painterly moves.

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Gravity and Grace: Monumental Works by El Anatsui, Brooklyn Museum, Brooklyn, NY

The first solo exhibition in a New York museum by the globally renowned contemporary artist El Anatsui, this show will feature over 30 works in metal and wood that transform appropriated objects into site-specific sculptures. Anatsui converts found materials into a new type of media that lies between sculpture and painting, combining aesthetic traditions from his birth country, Ghana; his home in Nsukka, Nigeria; and the global history of abstraction.

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